Self Publishing Myths Dispelled
While I spent many years waffling over the logistics and benefits of self-publishing, there were many benefits once I took the plunge. One was more control over timelines and design (including books, like GRANATA above, with an art element, not always welcomed by other presses) Another benefit is a greater share of the list price. This happens in a time when poets, even publishing with traditional presses, often share the brunt of promotion anyway for any collection, yet rarely make enough for a cup of coffee per copy sold. I also was producing work at a steady clip, impossible to publish all of them with the press that had issued my last three books. By late 2020, the manuscripts had already started to pile up in span of years between my 6th book (SALVAGE) and my 7th (SEX & VIOLENCE). Collection #5 (LITTLE APOCALYPSE) had landed back in my lap and I had already finished #8 (FEED) and #9 (DARK COUNTRY) with a partial start on all three books that would come in the couple years after that. I had an embarrassment of riches in terms of finished poems in those days, so getting them out there seemed important. I also did not want to go through the work and expense of entering manuscripts in open reading periods and spendy contests, having already played that game earlier in my career. I was also in a great place to make it happen, having my own imprint and book design experience, as well as an existing audience for my work this many books and years in.
When I was initially contemplating self-publication in the early aughts, it was still very much a no-no if you wanted to be taken seriously and be seen with legitimacy (though I wonder how much of this was just the poets I was in community with.) Other communities had different ideas about it. There were spoken word poets who regularly issued their own work to sell at readings. The zine makers I knew regularly published their own editions of new work. When I started DGP, the first trial chapbook was my own, and when that went well, I moved on to publishing other authors. As time went on, there were more chapbooks and zines, but I still entrusted other presses with my full-length manuscripts. While I loved the presses and editors I worked with, it became steadily apparent over the years that traditional publishing, while nice, was not always ideal. My first publisher issued one book and accepted a second, but shuttered before it bore fruit. Ditto with another I later published with--same situation, one book released and another in-progress and abandoned when the publisher closed (I later issued this one myself, first as an e-book and now in print.) Other books closed out the print run after a decade (I have a handful of copies of these, but they are only available direct from me now.)
Since 2021 or so, I've been happily typing and designing away since, issuing 1-2 projects each year on my own, usually available to all, though there are also some Patreon-only offerings. But there are a few misconceptions I have often come across that bear mentioning when discussing self-publishing your poetry. that seemed fruitful to discuss.
It's too expensive
This one's response is--well, it depends. There are companies, both ethical and not-so ethical, who will do all the legwork of helping you produce a collection of your work. These used to be called vanity presses, though now sometimes, they call themselves co-op publishing (though these are not always the same thing). Usually, they will help you make a book from start to finish for a fee or set-up cost, with either shared royalties or everything going to the author. But you will pay for their services, and sometimes, unless you already have a built-in audience or can move all those copies you get, this can be really hard unless you are just printing books to give to friends and family (still a totally legit reason to publish, but limiting if you want a bit wider reach. ) Also, not all these companies deliver what they promise. Still, if you just want a printed book, have the available funds, and understand the details of your agreement with them (and are getting what you pay for.) Sometimes co-op publishers just require splitting costs for the print-run, but otherwise choose their books more like trad publishers.
If you want to self-publish in a much less expensive way and one that gives you a bit more control, there are POD companies and distributors that can create the printed book provided you furnish final designed files. Amazon KDP, Barnes & Noble, Lulu. and Ingram Spark all can produce books for a fraction of the cost and allow you to sell your wares through their sites. You have the benefit of not having to store large amounts of copies in your closet or garage, though another approach is to find a printer you trust and work with them to print a set print run. The benefits of the latter are a greater range of paper types, cover finishes, binding details (like painted edges and luxe dust jackets), but the downsides are the initial expense and storage. You8 will also have to handle all the shipping and distribution yourself. POD is the better solution if you have limited funds and space, and if you want people to be able to purchase from booksellers easily. I recently switched to using Ingram Spark for both my books and DGP titles and each title is also made available on Amazon, B&N, and other markets. If you sell through them, they get a cut, but no matter where you set your price point, you keep the lion's share. Most have several options for trim size, cover finish, etc. that allow you to choose what the finished product looks like. B&N and Ingram have a nice option if you just want to use them as a printer and then sell your own books, you can forgo wider distribution and just have your books printed for you to handle (I do this with journals I sell). Ingram and Amazon KDP can also furnish free ISBNs, though they are limited for use on those specific sites. Otherwise, you will want to secure your own, which can run $100 plus depending on how many you purchase at a time (its slightly cheaper to secure a range of numbers if you plan on publishing a lot of books. )
But there are ways that even using POD printing that expenses can pile up. You want t your book to look its best, so you may find yourself want to hire a freelance cover designer. Or you might want extra editing and proofreading help before you publish. Or you might not have the experience of doing an interior layout and would want to hire a professional. Great places to look include sites like Fiver and Reedsy, or asking other self-publishing authors for who they may have worked with. I myself been hired occasionally as a freelance cover designer by authors for their books with other presses. I also occasionally do manuscript consults to help authors finalize their books (to either submit it or self-publish). Some of these things you may be able to do for yourself or have a friend help out with, depending on comfort and skill level, but you can always outsource. This is still usually a cheaper option than the full-service operations that you pay to release a book for you. Plus you can pick and choose who you want to work with.
You may also only have the budget to go it alone. If you are an artist, or someone with a good eye, you can design your own cover using things like Photoshop on Design, or Canva (my personal fave.)There are also many templates available there, though you may find your book looking like everyone else's if you choose a more popular one without customizing it. Amazon's KDP has some utilitarian covers that make it easy, but these, unless you tweak them a little, tend to be sort of clunky and generic.AI-generated covers often also have a similar sameness, especially in some genres like fantasy and romance.
Readers won't take you seriously
This one may have been the thing that prevented me from self-publishing from the get-go. We all have imposter syndrome, and having an editor or and established press take a chance on you feels good. Like your worth is worthy of something so coveted as a prime publication spot from a notable press. But I also know how much of an uphill battle it is to get eyes on your work. You enter expensive contests only to be dismissed by a bevy of undergrad writing program readers who aren't even old enough to drink. You submit and submit only to get rejection after rejection. Having an editor take an interest and gamble on your work is amazing in making you feel like you've finally arrived. So long, issuing your work was seen as a vanity endeavor--for amateurs and fools. Surely not the work of "legitimate" poets.
But then again, we are all facing the bottleneck of limited publication spots and a sea of great writers. As an editor, I know what is out there--what I am competing with for a small number of books snatched up yearly. In any publication opportunity, there are hundreds of poets with an awesome book, many more awesome than you. Or even just shinier, sexier, or more timely. I also don't idealize gatekeepers (Foetry.com traumatized all of us writing in the mid-aughts.) Really, for every brilliant book published by traditional presses, there is another one that is mediocre or even bad. As an editor, I publish what I like, but it may not be to everyone's taste. I imagine many editors feel the same.
There are, however, a few caveats to the freedom and control of self-publishing. You may be ineligible for some things and opportunities lie grants, residencies, fellowships if a published title is required. If you work in academia, your CV /tenure track guidelines) may require traditional publishing to count. These would be good reasons to keep trying with traditional publishers depending on your needs.
Also, you really need to feel like you're ready. Like your work is the best you can get it. I don't always believe that you should wait til the perfect time to publish, having a more time capsule approach to my work--not everything has to be a masterpiece, but more an encapsulation of the work you are doing at any given moment. Some people wait too long to get things out there, but sometimes they are publishing too early. The goal is finding the sweet spot. It may be a couple years or decades into your practice. No one is the same.
No one will read your book
This one also depends on different factors (though your audience expectations may vary at different points in your career.). As mentioned above, poets themselves do all the heavy-lifting of promotion, even the ones who get coveted spots with larger university presses or big-name publishers. You might have some help from PR departments, depending on their size and scope, but its still going to be you hustling. In self-publishing, its all you. This means if you already have, or can steadily build , a readership following, you will do well. By the numbers, most of my self-issued books have numbers that are comparable, and sometimes even better, with my traditional publisher royalty statements. The difference is I get a bigger piece of the pie in the end and can keep things in print indefinitely.
You still need to do the same things as any traditionally published poet. Doing readings and book tours that are always the best ways to get books in hand. Lining up interviews, podcasts, promo stints, guest blog-gigs are always sound ways to get attention on your book. Reviews also help to move copies, especially in high traffic media outlets. You may also find traction by hosting giveaways, maintaining a large social media presence, or creating targeted marketing campaigns.While many bookstores don't even touch poetry beyond a scrawny shelf of Whitman, Dickinson, and Rupi Kaur, some do. Using a POD with distro capabilities means its a little easier to order if they do want to carry it, wither just generally or for a reading event. Libraries also order from the distributors and can help give your work a larger audience over time.
One thing I've found helpful is listening to fiction writers on socials and YouTube, whatever genre they write in, and how they market their self-issued books, which has given me some great ideas and a way to approach getting my work out there. Many of these things can be applied to poetry, just as readily, even with a smaller audience overall.
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